Given the track record of the Bhattâ€™s alone, the music for Footpath should have turned out a melodious gem. This year alone, the Bhatt banner has given us two wonders in terms of soundtracks, Jism and Saaya, the best of the year indeed. Then, when one takes into consideration the Bhattâ€™s work with
Nadeem-Shravan in musical gems Kasoor, Raaz, Sadak, etc., Footpath should be nothing less than a melodious to say the least. The least, unfortunately, doesnâ€™t even amount to much. Nadeem-Shravan have never been original, but perhaps, thatâ€™s what their thousand fans like about them. This time, their inability to create causes them to re-create their songs with different singers in case and try their best to do just one thing different in the other. The outcome is quite frankly boring.
The prime case in point is â€śChain Aapko Milaâ€ť. For all of us who got excited to see Asha Bhosle re-unite with S.P. Bhalasubranium and with Nadeem-Shravan after so long, rest assured, this is a prime indicator why no such reunion should have occurred. But the irony of deceit lies in the fact that not only is the tune the exact same thing, especially saxophone interludes closing the song, but the title of the song is the same as well. â€śChain Aapko Milaâ€ť from Footpath is the same as â€śChainâ€¦ (The solo aspect of the credited title)
Aapko Milaâ€ť (sung by Sadhna Sargam and Shaan in Nadeem-Shravanâ€™s [last release] Hungama). Asha and S.P. canâ€™t do much to salvage the poor track nor do they help take away the twin sister song from our memories. It makes us wonder whether there is supposed to be some relation to the boring songs, if not, then Nadeem-Shravan are doing us, their fans, a great disservice by creating such identical idiocracies being passed off as songs.
Raaz, is just laced over different lyrics. While the song fails to please immensely, had their been other songs like this on the soundtrack, its viability would have been increased.
The dholak in â€śKitna Pyaara Pyaara Hai Samaâ€ť is intriguing until the insipid beat kicks in. But, overall the song does hold its own with Abhijeet and Alka Yagnik. Abhijeet does his common â€ślaley, laleyâ€ť and Alka does her usual â€śaahâ€¦â€ť. Normal Nadeem-Shravan music is prevalent through out and the song is tolerably listenable.
Henceforth there is nothing worth mentioning on the soundtrack. Kumar Sanu has had a few very nice songs in recent times but he is often prone to these long solos, which are long, boring high strung and wordy. â€śJab Tumhe Aashiqiâ€ť (Ajnabee), â€śMasoom Chehraâ€ť (Talaash) are two cases in point, and â€śDost Milte Hainâ€ť joins the list. Kumar Sanu is nice to listen to but the song is so long, high-strung, slow and boring that at times you canâ€™t stand but not listen to him. The song, as usual for a Nadeem-Shravan is repeated in its female form courtesy Alka Yagnik (titled â€śDil Milte Hainâ€ť), with equally as negative things to say about it.
â€śSoorat Pe Tere Pyar Aaveâ€ť is the mandatory Punjabi number, which is done by guest composer Himesh Reshammiya. Indeed, that is a surprise as Nadeem-Shravan have always advocated on not having "guest composers" and for the most part have been successful in not having them. Whether or not music companies are actually realizing the need for them is another thing, but the Punjabi flavored number is catchy. Upbeat and clearly of different style than anything Nadeem-Shravan have composed. Kind of influenced with a qawaali interlace, the song is passable. Singers Hema Sardesai, K.K and
Jayesh Gandhi are nice to listen to.
Vikram Bhatt has always done well in choosing the right music for his films; it is usually a good way to ensure they are a success. Furthermore, the repertoire he and the rest of the Bhattâ€™s share with Nadeem-Shravan have always been positive. But unlike the usual, where â€śexperimentingâ€ť is missing in a Nadeem-Shravan soundtrack, there is much more missing here with Footpath. Forget originality, judging with Footpath, these melody kings quite frankly need taste.
|Terms of Service